Coleman Hawkins – The Middle Years: Essential Cuts 1939-1949. Out of all the classic tenor players, Hawkins has been the slowest to grow on me. His bluff, aggressive tone didn’t initially appeal, and I have to say Lester Young is still my president. But the unceasing daring and invention on display in these classic recordings finally won me over.
Curlew – Bee. One of the gateway drugs that first got me into jazz; I saw one of their shows in the early 1990s, when I was still an alternative-rock kid, and it really expanded my horizons. That era of the band is captured well on this 1992 album, which I hadn’t heard in a long time. Now that my ears have been trained by a couple more decades of jazz listening, Curlew is actually too rocky and aggressive for me. But Davey Williams’ guitar pyrotechnics and Tom Cora’s amplified cello playing are still a blast.
Gigi Gryce – Nica’s Tempo. I did not come to this obscure mid-50s jazz record with particularly high expectations, but it blew me away. In fact it’s one of very best recordings of this era of modernist jazz. Gryce’s arrangements are the highlight, there are a couple of wonderful vocal numbers by Ernestine Anderson, and some surprising quartet tracks with Thelonious Monk.
Bill Dixon & Tony Oxley – Papyrus Vol. I & Vol. II. Two hours of improvised trumpet and drum duets is not the kind of thing I usually go in for: a bit too close to avant-garde self-punishment. But this music is not punishing and is often outright gorgeous: Dixon extracts an unbelievable range of sounds from his trumpet.
Tony Allen – A Tribute to Art Blakey. I found out about this little session for Blue Note from Tony Allen’s obituary, which is always a sad way to come to appreciate an artist. I didn’t know much about his post-Fela Kuti work, but this is pretty damn good. Allen’s drumming is just amazing, entrancing without being overbearing.
Gregory Isaacs – Slum In Dub. A classic piece of dub from 1978, every track is a gem. Isaacs’ name is on the cover, and some of the rhythms come from his Cool Ruler album, but there is almost none of his singing to be heard. It’s mostly a fine piece of echoey rhythm work by Prince Jammy and King Tubby.
Junius Paul – Ism. Certainly one of best jazz recordings of 2019 (it dropped in November). A sprawling, glorious mess, whose long jams and eclecticism are reminiscent of one of those double albums from the 1970s. The music spans the gamut from free bop to funk, all grounded by Paul’s monstrously rhythmic bass playing.